Music teaching device and method

ABSTRACT

A novel music tablature corresponding to Janko-type keyboard with touch plates having coloring different from traditional keyboards is provided.

PRIORITY

This application is continuation in part application of U.S. patentapplication Ser. No. 14/032,411 which was filed on Sep. 20, 2013 and thecontent of which is incorporated herein by reference in entirety.

FIELD OF THE INVENTION

The invention relates to a music teaching device and method. Theinvention also relates to an isomorphic type keyboard, a music notationrelating to the keyboard, computer programs displaying the keyboard andpiano roll notation.

BACKGROUND OF THE INVENTION

The Janko-type piano keyboard, also known as isomorphic or six-sixkeyboard was designed by Paul von Janko in 1882. Janko Keyboard isdescribed in for example U.S. Pat. No. 360,255.

Instead of the traditional one row of white and black keys the JankoKeyboard provides an array of keys. In the Janko Keyboard each verticalcolumn of keys is a semitone away from its neighboring columns, and oneach horizontal row of keys the interval from one note to the next is awhole step. This key layout results in each chord and scale having thesame “shape” on the keyboard with the same fingerings regardless of keysignatures, unlike a traditional keyboard, which requires twelvedifferent patterns for each key signature.

The advantage of this type of keyboard is that the fingering for a givenchord or tune remains the same in all key signatures. In other words thefingering remains same no matter where the chord or the tune starts onthe keyboard.

The Janko Keyboard provides a set of three keys for each note allowing aplayer to position her hands more comfortably. Moreover, the JankoKeyboard is narrower than traditional keyboard and allows the player toreach larger intervals than with a traditional keyboard. On a JankoKeyboard keys of the same set move together through a stair like supportmember that the keys are attached to.

Accordingly, the Janko keyboard has several advantages and couldpotentially be popular for example for beginners or for children withsmall hands. However, regardless of its advantages the Janko Keyboardsnever became popular. One disadvantage of Janko type of keyboards is afeeling of busyness. It looks like there were black and white keyseverywhere and this creates some confusion. Moreover, original JankoKeyboards are uncomfortable to play due to the shape and small size ofthe keys.

Learning to play any instrument is difficult and the use of traditionalmusic notations is not necessarily making the task easier. Throughoutthe history of keyboards, there have been various teaching methods anddevices to teach music. Piano rolls and self playing pianos are alsoknown for long. During the last decades, computerized teaching methodshave also become popular. One such method is described in U.S. Pat. No.7,030,307 where a simplified note recognition technique is provided andthe pitch and the duration are displayed in a single icon. The notationdisclosed in U.S. Pat. No. 7,030,307 is based on a traditional pianokeyboard and provides a system where the keys are clustered and eachcluster is shown on the tablature as shaded or non shaded zones. Despitethe benefits of this tablature it still does not provide sufficientlysimple and easy way for reading music. This disclosure providessolutions to the flaws of the existing keyboards and music teachingdevices by providing an improved keyboard. Furthermore, this disclosureprovides a novel music tablature and piano rolls that correlate with theimproved keyboard. And finally, the disclosure provides methods to usethe keyboard, the tablature and the piano rolls as a teaching devicethrough specific computer programs.

SUMMARY OF THE INVENTION

It is an object of this invention to provide a Janko-type keyboardhaving three to six horizontal rows, each row comprising: a multitude oftouch plates attached to a support and formed by a front end, a backend, two straight sides, and a top surface in a manner that leaves ahollow cavity inside the touch plate, wherein the touch plates arewidest between the two straight sides; the top surfaces having a shallowdip simulating the form of a finger tip on the widest part of the touchplate; each straight side has a tapered slot enabling stretching of thecavity to attach and detach the plates to and from the support; eachfront end has a narrow tip, and the front ends of adjacent touch platesform a wavelike pattern; each back end has a narrow tip, and the backends of adjacent touch plates form a wavelike pattern; and said wavelikepattern formed by back ends matches with the wavelike pattern formed bythe front ends, thereby enabling close connection of the horizontalrows.

It is another object of this invention to provide a removable touchplate of a Janko-type keyboard, wherein the touch plate comprises: afront end; a back end; two straight sides with tapered slots; a topsurface; and a hollow cavity; wherein the plate is widest between thetwo straight sides and the front end and the bottom end have narrowtips; wherein the top surface has a shallow dip and a concave halfcircle toward the back end, simulating the form of a fingertip; andwherein the touch plate can be attached to a prong of a support bystretching the hollow cavity by inserting cylindrical tips of apliers-tool into the tapered slots, inserting the support prong insidethe hollow cavity and removing the pliers-tool, whereby the touch platesnaps tightly on the support prong and is held in place by friction andis removable by using the pliers-tool to stretch the cavity whilesliding the plate off from the prong.

It is a further object of this invention to provide a musical tablaturesystem for a Janko-type keyboard, said system comprising: a treble staffand a bass staff, said staves comprising at least two horizontal C-linesand a G-space in between the lines; the G-space being divided in threehorizontal sections representing upper border of the G-space, middle ofthe G-space, and lower border of the G-space; one or more notespositioned either on the C-line, or immediately above the C line orimmediately below the C line, or in middle of the G-space, or on thelower border of the G-space, or on the upper border of the G-space, saidnotes having an oval head or a triangular head, wherein each oval headednote on same position as the triangular headed note is half a tone lowerthan the triangular headed note, and wherein oval notes correspond withfirst, third and fifth rows of the keyboard, and the triangular headednotes correspond with second, fourth and sixth row of the keyboard; andwherein accidental notes may have a color corresponding to color of theaccidental keys on the keyboard, and natural notes may have a colorcorresponding to the color of natural keys on the keyboard.

Yet another object of this invention is to provide a piano roll notationsystem for Janko-type keyboard, said system comprising: black and bluevertical lanes corresponding to the color of the touch plates of thekeyboard; said lanes being lighter where the lane corresponds to a touchplate that has a marking; colored rectangles representing the notes tobe played and the length of the rectangles representing duration of thenotes, wherein color of notes to be played with right hand is differentfrom color of notes to be played with left hand.

Still another object of this invention is to provide a method ofteaching a user to play a Janko-type keyboard instrument, said methodcomprising the steps of: a) providing a computer, a touch screen showinga virtual Janko-type keyboard, and at least one computer program; b) thecomputer program allowing the user to choose assisted play—mode and asong or a lesson to be practiced; c) the computer program showing thesong or lesson with novel tablature system of this discloser on thescreen, simultaneously with the virtual keyboard; d) the computerprogram playing first few notes of the song or the lesson andhighlighting or otherwise marking the keys played on the virtualkeyboard; e) the user trying to repeat the notes played by the computer;f) the program alerting the player when a wrong note was hit; g) thecomputer playing next few notes when the player plays all notescorrectly; and h) repeating steps d) to g) until the song is playedcorrectly to the end.

BRIEF DESCRIPTION OF THE FIGURES

FIG. 1 shows the touch plates of the keyboard of this disclosure. Abottom view (A), a top view (B) and a side view (C) of the touch platesare shown. The measures in the figures are as follows: l: 1.25″; w:0.875″; h: 0.875′; a: 0.15625″; b: 1.09375″; c: 0.36925″; d: 0.3495″; e:0.375″; f: 0.75″; m: 0.355″; n: 0.445″; o: 0.625″; p: 0.5625″; q:0.4375″; u: 0.125″; v: 0.284″, r₁: 0.094″; r₂: 0.25″. A skilled artisanwill understand that these measures give general proportions of thetouch plates but that they may be varied without diverting from thespirit of this invention.

FIG. 2 shows a hand over the keyboard of this invention. Three rows oftouch plates are shown.

FIG. 3 shows the keyboard layout of this invention with markings on thetouch plates. Five rows of touch plates are shown.

FIG. 4A shows the “MusiScript” notation relating to the keyboard. Achromatic scale is shown in quarter note and half note timings on bassand treble staves.

FIG. 4B shows simplified “MusiScritp” notation relating to the keyboard.

FIG. 5 shows the correlation between the Lippens Keyboard design andMusiScript notation. A chromatic scale is shown in quarter notes andeach note is correlated to a keyboard touch plate.

FIG. 6 illustrates how anyone of the notes on the “MusiScript” notationcan be recognized without reference to any other note, line or space.

FIG. 7 illustrates piano roll notation relating to the keyboard. Thekeyboard is illustrated in the bottom and the piano roll on top of thefigure. The music written on the piano roll is Ludwig van Beethoven'sMinuet.

FIG. 8 shows the structure and principle of a single underlying supportactuating synthesizer to move two or three touch plates simultaneously.Attachment of touch plates is also shown. The measures in the figure areas follows a: 1.875″; b: 0.625″; c: 0.875″; d: 0.250″; e: 0.375″; f:0.282″; g: 0.187″; h: 0.375″; m: 0.625″; n: 0.375″. A skilled artisanwill understand that these measures give general proportions of thetouch plates but that they may be varied without diverting from thespirit of this invention.

FIG. 9 shows the structure and principle of the attachment of the touchplates onto the support. The scale in the figure is 3:2.

FIG. 10 is a schematic representation of the teaching system accordingto this invention.

FIG. 11 shows virtual keyboard with fingering markings. T representsThumb, I Index finger, M middle finger, R ring finger and P pinky. Thecolor of the markings is different for left hand fingers and for righthand fingers.

DETAILED DESCRIPTION OF THE INVENTION

This disclosure provides a novel Janko-type keyboard, music tablatureand piano roll notation system relating to and correlating with thekeyboard, and a method to teach music by computer programs in connectionwith the keyboard and/or a virtual keyboard and the related musicnotation and related piano roll notation.

The invention is now described by reference to the attached drawings.

The keyboard of this invention, the Lippens-keyboard, is a Janko-typekeyboard with improved keys. The keys of the Lippens-keyboard have atouch plate shape that is shown in FIG. 1.

As is shown in FIG. 1, the touch plates 100 have a back end 120 and afront end 130 and two sides 140. The back end 120 and the front end 130are curved while the sides 140 are straight. The widest part of thetouch plate is between the straight sides 140. The width of the touchplate is preferably between 0.6 and 0.9 inches, more preferably between0.8 and 0.9 inches and most preferably 0.875 inches. In the bottom viewA of FIG. 1 the width is marked with letter w. The length of the touchplate is measured from the back end 120 to the front end 130 and ismarked with letter 1 in the bottom view A and the top view B. The lengthis preferably between 1 and 1.3 inches, more preferably between 1.2 and1.3 inches and most preferably 1.25 inches.

While the touch plate has the widest measure between the two straightsides 140, it gets narrower in the front and in the back. The narrowerback tip 125 has a length that is marked in the top view B of FIG. 1 asletter e. The length is most preferably 0.375 inches. Similarly thenarrower front tip 135 has a length that is marked with letter e and ismost preferably 0.375 inches.

The touch plate has a top surface 150 shown in the top view B of FIG. 1.A concave curve on the top surface of the touch plate starting at thefront end of the widest middle part of the touch plate morphs into aconcave half circle of the widest middle part. The concave half circlesimulates the form of a fingertip. A shallow dip 160 on top of the touchplate (best seen in the side view C of FIG. 1) allows the player betterto orient his/her fingers on the touch plate. In the top view B of FIG.1 letter f represents the measure of the diameter of the concave halfcircle. The diameter is preferably between 0.6 and 0.8 inches, morepreferably 0.7 and 0.8 inches and most preferably 0.75 inches. In thefront of the top surface, similarly a concave curve morphs into astraight line forming an angle of about 20 degrees with a vertical planeof symmetry of the touch plate. In the top view B of FIG. 1 the verticalplane is marked as letter P. The front end 130 forms a tip 135 that mostpreferably is about 5/16 inches wide.

The side view C of a touch plate 100 is also shown in FIG. 1. The touchplate is so designed that the front end 130 of the touch plate isheavily beveled from its front and its sides, while the back end 120 isstraight. The beveled shape of the touch plate is marked with elementnumber 180. The height of the back end of the plate is marked in theside view C of FIG. 1 with letter h. The height h is preferably between0.6 and 0.9 inches, more preferably between 0.8 and 0.9 inches and mostpreferably 0.875 inches. The height of the front end of the touch plateis marked as q and it is preferably between 0.4 and 0.5 inches, morepreferably between 0.425 and 0.45 inches and most preferably 0.4375inches.

The back end 120, the front end 130, the top surface 150 and the sides140 form together the touch plate 100 leaving a hollow cavity 190 insidethe touch plate. The hollow cavity is best seen in the side view C ofFIG. 1, and in FIGS. 8 and 9.

The touch plates have tapered slots (marked as letter g in the bottomview A and side view C of FIG. 1) on both straight sides 140. The slotson the sides are identical. As is shown in the side view C of FIG. 1,the tapered slots g are preferably about 0.5625 inches high (shown asletter p in the side view C of FIG. 1) and about 0.284 inches wide attheir wider, lower end (shown as letter v in side view C of FIG. 1). Oneskilled in the art would recognize that the slots may have otherdimensions too. Furthermore, the tapered slots g are so designed thatwhen a straight line is drawn along the sides of the slot the lines willform an angle of about 14 degrees at their meeting point. This is shownin the side view C of FIG. 1. The function of the slots is discussedbelow in relation to FIGS. 8 and 9.

Now referring to FIGS. 2 and 3, a keyboard 200 is formed by a multitudeof horizontal rows 210 a, b, c of touch plates 100. There may be 4, 5 or6 rows and most preferably 5 or 6 rows in the keyboard. Each horizontalrow 210 a,b,c in the keyboard is formed by a multitude of touch plates100 being adjacent to each other from their sides 140. The back ends 120of the adjacent touch plates of a first row 210 a form a wave likeconfiguration and the front ends 130 of the adjacent touch plates of asecond row 210 b form a wave like configuration perfectly matching thewave like configuration formed by the back ends 120 of the first row 210a. Similarly, the back ends 120 of the adjacent touch plates of thesecond row 210 b form a wave like configuration and the front ends 130of the adjacent touch plates of a third row 210 c form a wave likeconfiguration perfectly matching the wave like configuration formed bythe back ends 120 of the second row 210 b. In a similar manner a fourthrow 210 d and a fifth row 210 e are formed.

Now referring to FIG. 3, the touch plates 100 are of two differentcolors, like in traditional keyboard or in the original Janko-keyboard:one color for natural keys and another for sharps and flats(accidental). In traditional keyboard and in the original Janko-keyboardthe colors are white for naturals and black for sharps and flats. In thekeyboard of this invention (Lippens keyboard) the natural keys arepreferably blue (or some other color that is not in a black-gray-whitecontinuum) and the flats and sharps black. As the figures in thisapplication are black and white the blue color of the keys for naturalnotes is shown gray. The reason for changing the white color to blue isfor the purpose of the correlation to the MusiScript notation and topiano roll notation as is described later below.

As is shown in FIG. 3 the Lippens-keyboard has markings 170 on thecertain touch plates to help the player orient himself on the keyboardand also to distinguish the individual keys more easily. As is seen inFIG. 3, the five black keys are being separated into two groups: twowith markings and three without. Similarly the seven blue (or white)keys are being separated in two groups: three with markings and fourwithout. Furthermore, the markings 170 on the touch plates are slightlyraised; preferably less than 0.010 inches in the center of the shallowdip 160. Such raised markings help any player to orient his or herfingers, but especially beneficial the raised markings are for blindplayers.

According to one preferred embodiment the top surface of the touchplates for natural and accidental notes are different, for instancesmooth for the natural notes and slightly grainy for the accidentals.

Contrary to the original Janko-keyboard, where three keys were attachedto one support element, the touch plates 100 of the Lippens-keyboard mayin one preferred embodiment move independently. In an electronic versionof the keyboard each touch plate in such case would actuate thesynthesizer independently. In this case each touch plate would haveindependent contact to the synthesizer (not shown).

According to another preferred embodiment shown in FIGS. 8 and 9, thetouch plates Lippens-keyboard of different rows playing the same noteare connected to a single underlying support 300 that actuates thesynthesizer. As is shown in FIG. 8, three touch plates 100 are connectedwith each other via a support 300. The support 300 is a stair likesupport that has upward pointing prongs 310 for attachment of the touchplates 100. The prongs have preferably a vertical slit 320 on theirupper end. The prongs have such measures that they snugly fit inside thecavity 190 of the touch plate when applied either by hand or with aspecial pliers-tool. Once on their place, the touch plates stay on theprongs by mere friction. When any one of the three touch plates ispressed the synthesizer is actuated. Accordingly, all three touch platesare played simultaneously by pressing only one of them.

Even if the idea of attaching touch plates on a support element toenable more than one key playing at same time was introduced by Janko,the Lippens-keyboard described here provides a novel and non obvious wayto attach the touch plates removably on the support element.

Returning back to FIG. 1 front view (A) and side view (C), the touchplates 100 have a tapered slot g on both straight sides 140 of the touchplate. These slots allow a specially designed simple pliers tool withtwo cylindrical tips (not shown) to pry open the touch plate cavity 190,flexing slightly the top surface 150 of the touch plates, so that thefriction surfaces shown on the cut A-A view of FIG. 8, can easily slidealong the surfaces of the prongs of the support element. When thecylindrical tips of the tool are removed from the tapered slots g, thefriction surfaces of the touch plate and of the support prong are pushedagainst each other thereby firmly holding together the touch plate tothe support. This novel attachment method does not require screws, nailsor anything similar to hold the touch plate to its support. This alsomakes the touch plates easily removable without any additional hardware.This is very practical and convenient for repair and maintenance of thekeyboard.

Referring now to FIG. 9, the novel attachment system of the touch plates100 onto the prongs 310 of the support is described further. The figureshows how the pliers are applied on the tapered slots g of the touchplate 100 to attach the plate onto the prong 310 of the support. Thecylindrical tips of pliers-tool are inserted into the slots g. On FIG. 9the pliers-tool's cylindrical tip is illustrated by element number 340.The tips 340 are pushed upward into the tapered slots with a small forceillustrated as F1 in the figure. The small force F1 generates a largeforce F2 that pries open the cavity 190 of the touch plate by slightlyflexing the top surface 150 of the touch plate. Once the cavity 190 isopened or enlarged, the touch plate 100 can be easily attached on theprong 310. Once the touch plate is pressed over the prong and the pliersare removed from the tapered slot the touch plate will be hold on itsplace by mere friction due to the fact that the prong snugly fits in thecavity.

Now turning to the novel notation that derives from the keyboard: Thenovel notation of this invention is called MusiScript and it isdescribed below and in FIGS. 4A and 4B. FIG. 4A shows the notation grandstaff 400 with treble 410 and bass 420 staves. Each octave isrepresented by two single features: a black C-line 450 and a slightlyshaded G-space 460. The pitch of a note can be determined based only onthese two features, the C-line and the G-space.

In FIG. 4A, a chromatic scale is shown on treble and bass staves. Boththe treble staff and the bass staff in FIG. 4 are represented by threeC-lines 450 and two gray shaded G-spaces 460. Between each C-line andeach G-space there is non shaded area 470. The notes in this system havetwo different head shapes: an oval head 510 and a triangular flag-shapedhead 520. The note with triangular head 520 is half a tone higher thanthe oval headed note 510 on the same line or space. Thus in thechromatic scale beginning for example from the lowest C-line 450 a ofthe treble staff, the C-line carries the C-note (oval head) and theC-sharp (triangle head). The first G-space 460 a carries in its centerthe G-note (triangle head) and the G-flat (oval head). Above the firstC-line in the first non shaded area 470 a there are D (oval) and D-sharp(triangle). On the bottom border of the first G-space there is E (oval)and F (triangle). On the upper border of the first G-space there isA-flat (oval) and A (triangle). Under the second C-line in the secondnon shaded area 470 b there is B-flat (oval) and B (triangle) andfinally on the second C-line again C (oval).

To make the notation even clearer the notes may be marked with thecorresponding colors of the touch plates. In a preferred embodiment asdiscussed above, the keys for natural notes are blue and for flats andsharps the keys are black. Therefore, in one embodiment on the notationstarting with the chromatic scale treble the oval C is blue (in blackand white figures this looks gray), the triangular C-sharp is black,oval D is blue, triangular D-sharp is black, oval E is blue, triangularF is blue and so on.

In an ideal situation the shaded space G and also the blue color thatdifferentiate the natural notes form the accidental that are black, aretwo features that make it extremely easy to read Muscript; either onpaper or on a computer screen. Yet it may be difficult for a person towrite by hand either with a pencil or pen and a piece of paper the halftone of the G space. Therefore, an alternative representation ofMusiScrpt, a “Simplified MusiScript” as shown in FIG. 4B, can beaccomplished as follows:

-   -   1) Using a single color; preferably black    -   2) Representing the G space without shading, but instead with        lines thinner or lighter than the C-line in order to make a        distinction between the two lighter G space boarder lines and        the darker fat C line. The skilled artisan would recognize that        the differentiation could be done with any manner distinguishing        the lines; all such variations are within the scope of this        invention.

In FIG. 4B, a chromatic scale is shown on treble and bass staves. Boththe treble staff and the bass staff in FIG. 4B are represented by threethick C-lines 450 and two lighter lines 480 a and 480 b in between eachtwo C-lines 450. The two C-lines 450 and the two lighter lines 480 a,bdefine three sections in between the C-lines. The middle section definedby two lighter lines is the G-space 460 a,b. Similarly as in FIG. 4A,the notes in this system have two different head shapes: an oval head510 and a triangular flag-shaped head 520. The note with triangular head520 is half a tone higher than the oval headed note 510 on the same lineor space. Thus in the chromatic scale beginning for example from thelowest C-line 450 a of the treble staff, the C-line carries the C-note(oval head) and the C-sharp (triangle head). The first G-space 460 acarries in its center the G-note (triangle head) and the G-flat (ovalhead). Above the first C-line there are D (oval) and D-sharp (triangle).On the bottom border of the first G-space (i.e. on the first light line480 b) there is E (oval) and F (triangle). On the upper border of thefirst G-space (i.e. on the second light line 480 a) there is A-flat(oval) and A (triangle). Under the second C-line there is B-flat (oval)and B (triangle) and finally on the second C-line again C (oval).

The correlation of the notation and the keyboard design is illustratedin FIG. 5. The seven touch plates for natural notes (blue touch plates)are divided in 2 groups: one group with three touch plates and thesecond group with four touch plates. The members of the first group aremarked with letter A in the figure. The members of the second group aremarked with letter B in the figure. The five touch plates for theaccidental notes are divided also into two groups, one with two touchplates and the second group with three touch plates. The two touchplates in the first group are marked with letter C in the figure and thethree touch plates of the second group are marked with letter D. In theFIG. 5, the chromatic scale is shown above the keyboard. One can easilysee that the blue notes correlate with blue touch plates and black noteswith black touch plates. Furthermore the oval headed notes represent thetouch plates on the first row (also third and fifth rows which are notshown in the figure) and the triangular headed notes represent the touchplates on the second row (as well as on rows four and six).

FIG. 6 represents so called Peeping Hole-test. The notation of thisinvention is the only one known that passes the Peeping Hole-test, whichcan be described as follows: if one takes a blank sheet of paper andcuts a hole in it, twice the size of a note head, then puts the sheet ontop of a music sheet and passes the hole in front of any note, thenotation of this invention is the only one where one can tell the nameof the note in the octave just by seeing through the peeping hole. Inother words, just by seeing the note having either an oval or a triangleshaped head and locating either on a C-line, on the lower boarder of theG-space, on the middle of the C-space, on the upper boarder of theG-space or under the second C-line and being blue or black, one can tellthe name of the note in the octave, without any reference to any othernotes or lines. For example, as is shown in the upper most peephole inthe figure, there is a blue note, with triangle shaped head right undera C-line. Because it is blue, it has to be a natural note. Thus it hasto be B.

The keyboard of this invention may be acoustic, electronic or it may beapplied as a virtual keyboard on a computer screen. These variousembodiments also allow the use of the keyboard and the notation inconnection with computer programs as teaching devices as follows and asis shown in FIG. 10:

A monitor attached to a computer and possibly also to an actualkeyboard, shows an image of the Lippens-keyboard at the bottom of themonitor (a virtual keyboard) and a MusiScript grand staff on top of themonitor. A command bar allows the player to choose among three modes ofoperation: “free play”, “auto play” and “assisted play”. In the freeplay-mode the player may play what he wants. In the auto play- andassisted play-modes, the player may choose among different songs orlessons. In the auto play-mode the computer plays the selected song andthe played notes appear on the staff on upper part of the monitor andthe keys that are played are highlighted, depressed or otherwise markedon the virtual keyboard on the lower part of the screen. In assistedplay mode the computer plays a few notes of the chosen song or lessonwhile the corresponding keys on the virtual keyboard are being depressedor highlighted or otherwise marked and the proper notes appear on thestaff on the upper part of the screen. The player is then invited toplay the notes just played by the computer. When the player plays theproper notes either on the real keyboard that is attached to thecomputer or on the virtual one on a touch screen, the program progressesalong and the computer plays next notes and again the notes appear onthe staff and the proper keys are highlighted or otherwise marked on thevirtual keyboard. Once the player plays the notes correctly the computerplays next notes and so on until the song is successfully finished bythe player. In the assisted-play mode, the player has an option tochoose guidance for the fingering. In that case the touch-plates of thevirtual keyboard are highlighted with green spots containing the initialof the name of the finger to be used on a particular touch-plate. Thisis illustrated in FIG. 11 which shows how the virtual keyboard lookswhen the actual players hand plays on the actual keyboard the chordshown in FIG. 2. The dots containing the finger initial have differentcolors for the left and the right hands. For instance, green for theright hand and purple for the left hand.

The player has the option to move the action to the part of the song orthe lesson where he has difficulties to overcome and repeat it as manytimes as needed. New songs and/or lessons with various degrees ofdifficulty of execution can be continuously added to the program asneeded. The MusiScript notation that appears on the monitor top of thevirtual Lippens-keyboard can be corrected, adjusted or modified by theprogram and can also be printed.

The novel teaching device of this invention contains also a secondcomputer program and a piano roll notation. This program works with acomputer connected to a touch screen displaying either theLippens-keyboard or a conventional piano keyboard where the keys C,C-sharp, D, D sharp and E have been properly marked. The computer mayadditionally be connected to real electronic keyboard, either aJanko-type or a traditional type.

On top of the computer screen there is a piano roll unrolling downwardswhen the action takes place. The piano roll is shown in FIG. 7. Thepiano roll 600 is not white like a traditional piano roll, but insteadit shows black 610 and blue 620 (or any other color that corresponds tothe colors of the Lippens-keyboard's touch plates) vertical lanes thatcorrespond to the touch plates of the same color on theLippens-keyboard. Where the marking 170 (see FIG. 3) appear on theLippens-keyboard, the black lanes and blue lanes on the roll appearlighter, gray instead of black and light blue instead of dark blue (thisis one of the reasons why the natural notes on the Lippens-keyboardcannot be white as in traditional piano keyboard).

In the piano roll 600, the notes to be played are represented by lightcolored rectangles 650 coming down from the upper part of the screentoward the virtual keyboard at the bottom of the screen while thecomputer plays the notes. The length of the rectangles represent theduration of the note. The front and back of the rectangles are roundedin order to mark the beginning and the end of the duration of the notes.The colors of the rectangles are different for the right hand and theleft hand of the player; for example white for the right hand and tanfor the left had.

The command line of the computer screen allows the player to usedifferent modes, either auto play or assisted play. In the auto playmode the computer plays the notes and the piano roll opens on the upperpart of the screen. In the assisted play mode the player can choose asong or lesson and determine the speed at which the notes come down(piano roll opens); he can also shift the action on the roll where heexperiences difficulties that the needs to overcome. Similarly as isexplained above in relation to FIG. 10, here too the player tries toplay the correct notes either on the virtual keyboard or on the actualkeyboard that is attached to the computer. When the player hits a wrongkey either on the real keyboard or the virtual keyboard, the wronglyplayed key on the virtual keyboard will be marked for example with a reddot or light. The program can accept additional songs or lessons asneeded.

It is understood by one skilled in the art that the invention isdescribed above by way of example and that there are variations that maybe made without diverting from the spirit of this invention.

What is claimed is:
 1. A musical tablature system for a Janko-typekeyboard having three to six horizontal rows each comprising multitudeof touch plates and wherein touch plates for natural notes are coloredwith one color and touch plates for accidental notes are colored withanother color, said system comprising: a treble staff and a bass staff,said staves comprising at least two horizontal C-lines and a G-space inbetween the lines; the G-space being divided in three horizontalsections representing upper border of the G-space immediately below theC-line, middle part of the G-space and lower border of the G-spaceimmediately above of the C-line; and one or more notes positioned eitheron the C-line, in the middle part of the G-space, on the lower border ofthe G-space, or on the upper border of the G-space, said notes having anoval head or a triangular head, wherein each oval headed note on sameposition as the triangular headed note is half a tone lower than thetriangular headed note, and wherein oval notes correspond with first,third and fifth rows of the keyboard, and the triangular headed notescorrespond with second, fourth and sixth row of the keyboard.
 2. Thetablature system of claim 1, wherein accidental notes have a colorcorresponding to color of the accidental keys on the keyboard, andnatural notes have a color corresponding with the color of natural keyson the keyboard.
 3. The musical tablature of claim 1, wherein the staveshave three C-lines and two G-spaces.
 4. The musical tablature of claim2, wherein natural notes are blue and accidental notes are black.
 5. Themusical tablature of claim 1, wherein the C-lines are thicker than linesdividing the G-spaces to three sections.